Jewellery is used to reveal the landscape of the body. The structural and precise pieces investigate how volumes, patterns, planes and forms that surround the surface of the skin are seen. They look organic because of the choice of materials used and the combinations of influences, which is an interesting contrast because of the technology and processes. Architectural methodologies and drawing conventions are juxtaposed with qualities generated from drawings of wood and rock formations and contour maps, as well as the contours of the body.
The relationship between the body, objects and the spaces that surround them are investigated by producing jewellery related objects that relate to the surface of the skin on and off the body. The works are ‘Wearable Drawings’ and planes and cross sections are used to suggest forms and capture volumes, transforming 2D surfaces into 3D objects. Volumes and scale are important, as external and internal forms and patterns are revealed in the pieces with movement. When worn the jewellery has a synchronicity with the wearer as it relates, outlines and reshapes profiles.
The process involves hand drawings of the body, exploring the surface of the skin, as well as 3D body scans and casting volumes, capturing movements. Woods, paints, textiles and metals are used to highlight the forms and draw attention to areas of the body, with a combination of CAD and by hand. The culmination of this approach is important and so are iterations, refining how the piece moves when it is worn.
Masters Degree in Design
Central Saint Martins, University of the Arts London
The Bartlett School of Architecture, University College London
Aberdeen Art Gallery and Museum, Collection
2014 Parallel Practices, Craft Council in partnership with Kings College London
2014 Aberdeenshire Craft Makers Award
2013 Cove Park Emerging Designer/Maker Residency
2013 Hothouse 3 participant, Crafts Council, UK